Live Music Spotlight ::: Vampire Weekend at The Fox Theatre

Vampire Weekend

w. Jacuzzi Boys

Monday 05/05/14

Fox Theatre

Atlanta, GA

One thing is certain, Vampire Weekend fans know their lyrics. This entire sold out show was singalong 4,700 concert goers strong. This made for a great atmosphere that felt like a full on party. The mood was set from the beginning as the Brooklyn quartet came out to Drake's 'Worst Behavior'. In late 2013 Ezra Koenig reviewed the Canadian hip hop artist's latest release Nothing Was the Same for The Talkhouse. 

One song Koenig did listen to though was “Worst Behaviour” and was particularly taken by a specific line: the “motherf*****s never loved us” one.

“It really struck a chord,” Koenig explains. “There are SO many motherf*****s out there. I’ve been making music since I was seven years old (started with piano) so I’ve been betrayed more times than I can count. You know how many people talk s*** behind your back and then try to be your best friend over the course of 22 years in the industry?? Drake only got into music like five years ago, so if you see how angry he is — IMAGINE HOW I FEEL.” 

The overall review made headlines on music blogs, becoming more of a story than it was. It's awesome and laughable that they come out to this song, as it is a great mood setter, the band has had many questions as they took a meteoric rise, and it's a kind of wink and nod at the whole thing. 

After taking the stage and a quick lap around, the group quickly broke into their first single, 'Diane Young',  off their latest critically acclaimed album Modern Vampires of the City, which received 2013's best album of the year from multiple publications including Rolling Stone, Pitchfork, and Slant Magazine. This was a song, as well traveled and rehearsed as they are, we wondered how well it would come across live with the voice inflections and modulations. That turned out to be a silly question as it blew the roof off and set the night into a furious dance party. 

As they did for most of the night, the baroque rock group jumped  between their three albums with White Sky coming next off their sophomore release Contra. This song had more energy live thank comes across your home speakers. You didn't have to wait for the first lyrics, "As a young girl" to come from Ezra's lips to get a feverish response from the crowd, as many of their songs do, the opening guitar riff sets about a chain reaction. This was the case for 'Cape Cod Kwassa Kwassa'. Returning to their newer material with 'Unbelievers' (video below). The theme heavy song was a fan favorite. As lead singer Ezra Koenig told NME: "Even though that song has some heavy themes about trying to figure out your place in the world and what you believe in and how your beliefs affect your relationships to other people, we don't mind goofing off a little bit." 

Follow us after the jump to see more from Vampire Weekend's Atlanta show, setlist, and future US tour dates!

Live Music Spotlight ::: Arcade Fire at Aaron's Amphitheatre at Lakewood

Arcade Fire
w. tUnE-yArDs & Kid Koala
Friday, 05/02/14
Aaron's Amphitheater at Lakewood
Atlanta, GA
6:30 doors open
7:30 tune yards
8:10 kid koala
8:45 Arcade Fire

We don't like to pump up a single show or album too much, because we understand music, as much as anything is very opinion driven.  A song can be listened to many times, but when it is heard that one time in the right setting, at the right time, or with the right people it can click instantaneously.  With only one of us having seen Arcade Fire, it was easy to believe in their talent, reputation, and work ethic to know this was a 'can't miss concert' in Atlanta.

To fully discuss this show the first thing that needs to be discussed is expectations and hype.  Arcade Fire is largely regarded throughout the music scene as the best live act on the road today.  Some of our group had been waiting nearly five years to see Arcade Fire due to various complications.  You were always told how incredible they are live and it builds into something in your mind is larger than life.  But there is that tiny doubt in the back of your head that whispers, “You love Arcade Fire, but can they really live up to these outlandish expectations that you have created?” The answer to that question was destroyed in the first 3 seconds on the show with a resounding “YES.” You can watch their live shows on TV or the internet, listen to countless audio recordings from shows, but nothing prepares you for what is to come. 

From the onset of listening to sound check you can tell how much not only Win Butler, but the entire ensemble puts in to each second of each song. The times retaking and practicing a song from the beginning during at the end of a US tour was impressive. They also worked on their cover of 'Tequila' into 'Normal Person' numerous times. In the actual show they only played about 10 seconds of 'Tequila' (aka Zima) and Win seemed less than thrilled with it, just because it wasn't completely perfect. This wasn't a bad thing, just a snapshot of how much they care and want to make everything perfect for the audience.  Very few artists of this caliber strive to not only give the fans a perfect show, but make each show a different memorable experience.  Too many bands these days write up one setlist for a tour and it doesn’t change for the rest of the year.

The set up of the concert was perfect with the openers to make quick transitions and leave very little downtime between sets. We found it a little weird that Aaron's parking did not open until 5:30p, with gates opening at 6:30p. It might be that we're use to seeing people tailgating for hours at Lakewood and Verizon around shows like Phish, Widespread Panic, and Dave Matthews that all have their own following and the parking lot turns into it's own event.

tUnE-yArDs came on promptly at 7:30p, but to very little fanfare as it was a late arriving crowd. We're sure many people were coming from work or studying for exams and had to fight rush hour traffic along with a home Braves game, just two exits away. Tune-Yards is the music project of New England native Merrill Garbus. When performing live, Garbus creates drum loops on the spot, and layers these with ukulele, and vocals, in addition to electric bass played by Nate Brenner. She mentioned and thanked her new touring band with included two high energy wood drummers/dancers, a talented, percussionist Dani Markham who also added vocals. Merrill's setup and display is impressive, but her yodeling can easily be lost on the audience. The highlight of the set was probably the beginning when Arcade Fire’s own Sarah Neufield came on stage to play her violin along to the opening song. This was the last stop on her tour with Arcade Fire, as she mentioned multiple times how thankful she was for being asked to join them. Between having been on tour for some time, the impending release of her new album Nikki Nack (available this Tueday), and the seemingly small crowd you could tell she was exhausted, though she gave it her all.

The quick transition between tUnE-yArDs and Kid Koala was mere minutes as the Montreal native's DJ booth setup was off to one corner of the stage. This was a perfect setup as it allowed for the breakdown of Tune-yards and the production that is setting out the ten plus instrumental arrangements for the night's headliner. Kid Koala put on a great show as a throw back to the original DJs who spin multiple vinyls and even works without headphones and did so flawlessly. With mixes of our own Outkast and Roy Orbinson tributes for Mother's Day, he was on top of his game.

Check out what Arcade Fire did to bring the house down after the jump

LIVE MUSIC SPOTLIGHT ::: CHILDISH GAMBINO AT THE MASQUERADE MUSIC PARK

For the writers of this blog, this was a show that we could not have been more excited for. Donald Glover is one of the most talented people in entertainment today. From writing for 30 Rock at age 25 to starring on Community to having a great stand-up comedy following, Glover was already more accolmplished than most people his age, but that wasn't enough. His first love was music and he took that step in the form of Childish Gambino. From seeing him at Bonnaroo in 2012 fresh off the release of his first real album Camp, we really wanted to see if his live show had evolved as much as his songwriting and production had. That question was answered very quickly at this show. Because the Internet showed just how much he had evolved as a rapper from mostly rapping about girls and how everybody doubted him to asking meaningful questions about life, existence, and how the hype surrounding the internet has turned people into followers and sheep at times. He still leaves some time to rap about girls, but on a much more sophisticated level that shows how much he has matured as an artist.

The first thing that we noticed about this show was the production value. The tour is called the "Deep Web Tour" and attendees can download the Deep Web app that only works onsite and turns the show into an interactive experience. As you can see in the picture to the right, there was one part of the show that allowed app users to vote on "how they were feeling." Another really cool aspect of this show was how it tied in to the concept of the album. Because the Internet is a concept album that Glover wrote an accompanying screenplay for. In the screenplay, Childish Gambino is "The Boy", a young adult living in a mansion with his friends, dealing drugs, and trolling people on the internet. At the show, the stage had a large screen where an image of the inside of a mansion was projected onto. There were also people in the background sitting on couches and just acting like they were hanging out. At one point (during the song The Party), "The Boy" gets fed up with everything and kicks everyone out of his house. At the end of the Because the Internet portion of the show, Gambino performed the song Earth: The Oldest Computer (The Last Night). While the song is going on, the "mansion" in the background starts to crumble and fall to the ground. This is one (of MANY) of the instances where the production value was amazing. 

(Crawl)

(WORLDSTAR)

(Shadows)

 

(The Party)

Follow us after the jump for more video and insight

New Music Spotlight ::: A Review of Beck - Morning Phase

BECK – MORNING PHASE

Born in Los Angeles, Beck discovered hip-hop at an early age and it influenced his musical career in a dramatic way adding to one of the most diverse musical bags of his generation. In the late eighties he began playing clubs and coffee shops and moved to New York City in 1989. After years of devoting himself to his craft he hesitantly released ‘Loser’. The single went mainstream overnight and became the theme of the slacker crowd of the mid-nineties despite Beck’s unmatched hustle. With overnight notoriety came the typical backlash that haunted many rock acts during that time, even being dubbed a one-hit wonder. These unfounded critics only created more heat and pressure that helped form his Grammy winning rebuttal Odely. Over the years he has continued to produce highly acclaimed album reinventing his sound time and time again.

Beck’s 2014 return gives us his twelfth studio album, Morning Phase. ‘Cycle’, the opening track on his first studio release since 2008’s Modern Guild, is the sunrise of the Morning Phase. With daybreak comes, ‘Morning’ with its whispering lyrics blended with slow kick drum percussions, delicately fingered piano, and lightly strummed guitar. ‘Say Goodbye’ puts an end to the morning of the album and gets out the doors accompanied a smooth nineties bass line.

‘Blue Moon’, the first single off the album was released in late-January as an appetizer to the upcoming feast many critics expected. The cheery lyrics, folky guitar play and hint of Q Lazzarus’ ‘Goodbye Horses’ backing vocals plays with the heavy keys.  Beck also performed ‘Wave’ on Saturday Night Live, a beautiful hypnotic ballet of soft echoing vocals, an eloquently arranged sting orchestra; a refreshing afternoon nap if you will. The soft picking of his guitar, on ‘Don’t Let it Go’ reawakens the listener with its motivating nature, and builds into piano before fading into violins that usher the track out. In late 2012 Beck released a 20 track Song Reader of sheet music, hoping to inspire musicians to record their own versions. This process seemed to have had a major influence across this record including, the lyricless ‘Phase’. ‘Turn Away’ brings a Simon and Garfunkel-esque tone.  The final two songs wrap Morning Phase in a country twang with the help of rolling lyrics, rhythmic guitar, and additions of harmonica and piano.

The process of recording Morning Phase was more active than its predecessor and companion album, Modern Guild, as he was limited physically due to a serious spinal injury. The time off allowed him to develop more vocal range. A more mellowed release than his 2008 return, Morning Phase is the perfect spring awakening album. There has been a slight resurgence in concept albums lately, but this album brings on a new role of an evolutionary album taking album sequencing a step further as every song seems not only feed into the next, but build upon what came before it.

Top Tracks

Blue Moon

Morning

Heart is a Drum

Wave

B Rating: 81

R Rating: 84

Overall: 82.5

Local Dates: Bonnaroo, FireFly Festivals

Like this album? Try….from 2013

Father John Misty – Fear Fun

Dr. John – B-Room

New Music Spotlight ::: A Review of St. Paul & The Broken Bones - Half the City

ST. PAUL AND THE BROKEN BONES – HALF THE CITY

Ever head of St. Paul & the Broken Bones? Before you listen to them, here is a picture of them. Now we’re not ones to make assumptions, but when we first saw this six-piece band come across the for show announcements the initial thought was indie-folk stringers, more of what’s hot right now. Well you know what they say about assumptions. The truth is this sextet from Birmingham, Alabama has recreated a sound as rare as any in music, emotion packed soul with gospel winged tipped vocals dripping with musical talent. It’s not James Brown, Otis Redding, or Charles Bradley you’re hearing, but the pipes of Paul Janeway. Going by the stage name St. Paul, like many soul giants before him he was raised in a small town with gospel music as an influence. Matching his golden voice are the Broken Bones comprised of Browan Lollar (guitar, vocals), Andrew Lee (drums, percussion), Jesse Phillips (bass), Allen Branstetter (trumpet), and Ben Griner (trombone, tuba). The ensemble began in 2011 around the time fellow capstone state natives, Alabama Shakes (who’s Ben Tanner, produced Half the City), started making grumbling in the musical belly. Similarly styled, I hope they’re strapped in for a similar meteoric rise to the hearts and ears of music fans everywhere.

The group’s first LP, Half the City is the work of years of playing small shows, and enough enthusiastic post-gig pats on the back to give the group enough confidence to focus on the band and postpone previous career paths. With the release of Half the City those previous career plans seem to be put on hold. For having such an entrancing voice the Broken Bones shine just as bright and compliment the throttling screams. The album opens with a simple collection of percussion, bass lines, and horns that tempt St. Paul’s heavenly cords out to play on ‘I’m Torn Up’ a song with emotion that makes you feel part of the relationship. ‘Don’t Mean a Thing’, another passion filled relationship reflection likens a foregone love to losing his kingdom and even if you didn’t understand the English language you could deduce as much just from listening. At the age of 10, Janeway was being groomed to become a preacher where he mastered the pulpit as he does the stage. It’s on songs like “Call Me” that you can hear this soul-raising ability come through channeling the Godfather of Soul, Mr. James Brown. The record is a complete balance between vocals and instrumentals with neither outshining the other, which is difficult with the clout that each brings. ‘That Glow’ takes Half the City to a melodic stream of horn and keys to match controlled belting and a hypnotic guitar. The middle chapter of the album ‘Broken Bones & Pocket Change’ is a song that brought Janeway and former friend Jesse Phillips back together and into the studio for what later became this jaw dropping collection. It’s easy to see when this song was laid down why they realized it could be something big. ‘Sugar Dyed’ begins a string of upbeat, optimistic songs reminiscent of Chicago.

 The album closes with ‘It’s Midnight’ a story of a mother consoling her son after love lost as only a southern mother could. The perfect ending to this storybook album, the horn heavy track with tickled ivories evokes the feeling of last call on a long night. The twelve track debut comes across beautifully for a group that made their reputation on earth shattering live-performances.

Top Tracks

Call Me

I’m Torn Up

Like a Mighty River

B Rating: 85

R Rating: 89

Overall: 87

Local Dates: Thursday 03/20/14 w. Betsy Franck, Tedo Stone at the Georgia Theatre

Like this album? Try….from 2013 

Charles Bradley – Victim of Love

James Blake – Overgrown

Aaron Neville – My True Story

Justin Timberlake – 20/20 Experience

New Music Spotlight ::: Review of Lost in the Trees - Past Life

LOST IN THE TREES – PAST LIFE

The Tar Heel state has seen its fair share of talented artists over the years and this orchestral folk four-piece is no different. Started by Ari Picker (Vocals, guitar, lyrics) in 2007 as a form to create a more orchestral group, they began working on the EP Time Taunts Me. The former B-Sides member recruited local artists from the University of North Carolina’s orchestral program along with artists associated with Trekky Records. The result was a weaving of multifarious instrumentals to complement

Ari’s hauntingly beautiful vocals. The band’s leader cited a diverse list of influences such as Beethoven, Radiohead, Vivaldi, Neutral Milk Hotel, Saint-Saëns, and OutKast, among others.

Lost in the Trees returns after their 2012 release, ‘A Church That Fits Our Needs’ drew some of the highest praise that year. Esquire magazine referred to it as “a luxuriantly orchestrated remembrance that ping-pongs between introspection and celebration.” The group has since transformed from a six piece ensemble to a more streamlined, minimalistic collection of four. Shedding many of the bulbous instruments from their original set up, producer Nicolas Vernhes created more with less on Past Life.

The instrumental lineup has changed, but their latest release is littered with everything that makes Lost in the Trees unique. As the album begins, ‘Excos’ floats through a melodic piano flight with heartbeat percussions and horns underlining Picker’ vocals. The albums namesake track is an upbeat guitar driven ballad of resolve.  ‘Wake’ is backed by piano work reminiscent of a suspenseful horror flick under an optimistic violin to mix with lyrics that mind the middle. The album closes with ‘Upstairs’ a track that bleeds with the aforementioned influences of Radiohead. The rhythmic guitar play and haunting lyrics would make Thom Yorke proud.

Despite the reoccurring theme of death and afterlife, Past Life brings an overall feeling of buoyant resiliency compared to previous releases. As a whole the albums proves that sometimes less is more. Despite the reduced band overall the album combines the sounds used to create a more complete and efficient sound.

Top Tracks

Past Life

Upstairs

Wake

Rites

B Rating: 90

R Rating: 84

Overall: 87

Local Dates: Thursday, May 1^st at the Earl

Like this album? Try….from 2013

Typhoon – White Lighter

Breathe Owl Breathe – Passage of Pegasus

Hey Marseilles – Lines We Trace

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New Music Spotlight ::: Album Review of St. Vincent - St. Vincent

ST. VINCENT – ST VINCENT

If a modern day Mount Rushmore for the women of indie music was erected (not a bad idea for a posting…stay tuned) there’s no doubt Annie Clark would garner her fair share of the discussion. Better known to the masses as St. Vincent, she has created a sound all her own by cultivating various elements into a wild chamber of pop-rock explosion. Raised in Dallas, Texas she learned to play guitar at twelve before working through her teens as the tour manager for her uncle’s band. She had a three year stint at Boston’s Berklee College of Music before returning to the lone star state. Shortly after her homecoming she joined the rock army that is the Polyphonic Spree. In 2006 Clark left TPS to tour as part of musical mastermind, Sufjan Stevens’ band.

After nearly a year on the road Annie began her transition to St. Vincent. Originating from Saint Vincent Catholic Medical Center where poet Dylan Thomas died in 1953. Deciding a place where ‘poetry goes to die’ fit her persona perfectly. She took the moniker after hearing it in Nick Cave’s ‘There She Goes My Beautiful World’. In July of 2007 she released her debut Marry Me (yes, it’s an homage to the Arrested Development line) to rave reviews. Since her beginning she shared the attention commanding sounds shared by her former associated acts, but with her own added flair. She has since recorded and released 2009’s Actor, Strange Mercy two years later, and collaborated with former Talking Heads’ lead singer David Bryne on Love This Giant in 2012.

In St. Vincent’s opening song ‘Rattlesnake’ it’s easy to picture the violet-tinged curls bouncing along to “sweatin, sweatin” in a Walking Dead-esque summer heat. The guitar sliding track delivers her voice and brings the scene to life. On December 9^th, 2013 St. Vincent announced the upcoming album release and immediately uploaded “Birth in Reverse” for free download. The track is a manic mashing of 80s dance party meets raw Sublime-like lyrics that create a get up and go energy that won’t be ignored on any set list during her upcoming tour.  Annie’s lingering voice carries the Pinocchio-like fairytale driven track, ‘Prince Johnny’ channeling early works from the First Lady of Pop, Madonna. The Disney theme isn’t new to St. Vincent as she has stated that her sophomore album Actor was inspired by many of their films.

Beginning with the fifth track, Digital Witness, the album really becomes magical. The second single off her self-titled album came in mid-January.  The horn rich track demands “give me all of your mind, I want all of your mind” and there’s no negotiation. Movement invoking instruments leave the listener spellbound, with no choice but to nod along to beat. Not ready to release her captive audience, St. V serenades on ‘I Prefer Your Love’ over simple drums and strings. The song discusses her closeness with her mother, written when her mom was ill (she has since recovered). What is left is a sigh of relief and a beautiful account of their bond. ‘Bring Me Your Loves’ channels tUnE-yArDs like afro-beat looping reverbs into one of the more electronic selections on the album. The electric feel continues of the remaining three songs.  Throughout the album, St. Vincent shows off her amazing musical range and leaves the listener in an entranced fog. The only negative would be St. Vincent could have been better tracked.  The different sounds often come one after another and can come away as choppy.

It’s no coincidence that Miss Clark is sitting on a futuristic throne of the cover of St. Vincent. It’s a royal seat she’s commanded time and time again with each new venture. It may be time to crown the new queen of indie pop-rock.

Top Tracks

Digital Witness

I Prefer Your Love

Regret

Rattlesnake

Psychopath

B Rating:  86

R Rating: 89

Overall:  87.5

Local Dates: Saturday 03/08/14 w. Noveller at The Tabernacle

Like this album? Try….from 2013

Born Ruffians – Birthmarks

Glasser – Interiors

Bats for Lashes – The Haunted Man

Au Revoir Simone – Move in Spectrums

The Polyphonic Spree – Yes, It’s True 

Artist Spotlight ::: An Interview w. Old Man Canyon

My influences are really all artists that reach for something beyond themselves, ones that have vision and desire to bring something real to a world of falsity.

Photo Courtesy of Old Man Canyon Facebook

You Ought To Hear This gets up close and personal with a band that is sure to be one of the breakout artists of 2014, Old Man Canyon.  Jett Pace, the founder and driving force behind Old Man Canyon, was kind enough to answer our questions. Please read along and be sure to check out their phenomenal EP Phantoms & Friends.

You Ought To Hear This: Give us some backstory to the band and your journey.

Old Man Canyon: In early 2011, the band I was in at the time ended up having a pretty bad falling out, as bands often do. It really shook me up and confused me as to what direction I was going to take, and how I really wanted to continue as an artist and a musician.

The next several months were spent in my basement writing and experimenting with sounds. After about 8 months I had a group of songs I was really happy with that I felt fit well together. So I contacted a friend and local producer, Dave Meszaros, to begin working on what would become the Phantoms & Friends EP.  The next 6 months was spent recording and really just trying everything that came to our minds, not holding back creatively at all. At the end we were left with something we were really proud of. 

 YOTHT: Tell us about the members of the band and what is your instrument set up?

OMC: The band now consists of 5 of us, its gone through several incarnations, but with everything sonically I am going for 5 of us are needed. Especially with the new music that will be on the next record, it’s quite a bit different and requires more hands! The band members consist of myself, on Guitar and vocals, Josh Contant on drums, Alex Dobson on bass, Malcolm Dow on Keys/synths and Dave Meszaros on guitar, who also was the producer on the EP.

  

YOTHT: Is everyone from the same area, how did everyone meet?

OMC: It’s been a gradual formation, it all began really with me just writing songs, and after I had recorded the EP is when I really began focussing on constructing the dynamic of the band. Some of the members are old childhood friends, and others we met through friends in and around Vancouver. It wasn’t a quick process, it’s taken around a year to find the right people to fit the vision I had artistically and sonically for the band.

YOTHT: Are you guys signed to a label? If so, how was that process?

OMC: We are in the process of signing, we’re talking to several different labels right now, I won’t name them quite yet. But we should be making a decision here pretty soon. The process was quite fluid actually, at least for us, the right people took interest right off the bat and have been keeping an eye on us since the beginning, so I think that helped to get the right exposure off the get-go and make the right connections.

YOTHT: What are some of your individual influences?

OMC: I always find that a really hard question to answer. My influences are really all artists that reach for something beyond themselves, ones that have vision and desire to bring something real to a world of falsity. To name a few, The Beatles, Michael Jackson, 2pac, Prince, Bob Marley, I could go on forever.

  

YOTHT: Describe your sound and how you decided on that direction?

OMC: I still haven’t really chosen a direction, I think as soon as you box yourself into a certain format, you stop yourself from evolving as an artist. I just write what it is I’m feeling, and that usually works. My new music is a lot different from the EP, and I couldn’t more excited for it, it’s everything I think I’ve always wanted to incorporate, it just took some time to really find it.

YOTHT: What is your writing and recording process like?

OMC: I spend a lot of time in my cold basement writing and recording. I don’t really have a set way songs come about, they always come in different ways. Some start from a guitar riff, some start from a beat, and some start from a bass line or sometime a melody will just pop in my head and I record it on my iPhone quickly to come back to later. I try to always switch it up to give deferent feels to the structure of the song.  But the process really is not up to me, there are forces at work sometimes when I’m creating [that] I can’t really take credit for. 

YOTHT: Where do you typically find inspiration for writing?

OMC: I couldn’t tell you, It’s such a random process, you never know when something amazing will pop into your head. Thank god for the iPhone recorder, that thing has saved my butt so many times when I need to remember something. 

YOTHT: How did the connection and relationship to have multiple recordings on Showtime’s Shameless? Describe the recognition increase since that time and growth via social media and fans reaching out?

OMC: Right after my EP was released I signed with a great Licensing agent out of Los Angeles, and it’s been truly awesome to see the placements he has got me. It’s helped me gain a lot of exposure and has allowed me financially to keep going with music without having to get side tracked on a side-job. 

It’s always an amazing feeling seeing your work reach the world, and hearing what people have to say and how it has affected them or helped them through something, I think when that sort of thing happens to an artist, it really helps build inspiration, because you see firsthand how it is your work is affecting the ones that hear it.  

YOTHT: Your tracks seem to fit the show so perfectly? When you are writing/recording do you visualize the music being a part of a scene/video?

OMC: Sometimes when a song comes, there is a strong visual side to it for me, and sometimes not. I love film and do a lot of visual arts in my spare time, so I guess that side of it is always in my mind. As soon as one art form is created, be it music or film, I usually see the ways the other parts can fit in to it pretty quick. Some songs just seem to fit the atmosphere of something visual more than others.

YOTHT: How do you feel about social media these days and your ability to connect with fans worldwide and vica versa.

OMC: I think it’s great, it has allowed for artists to manage parts of one’s career that usually took 30 different people. Its put a lot of power back into the musicians hands, and you can see the effects of it as labels aren’t always needed in the same ways they were back in the day.

YOTHT: Are you a fan of the resurgence of vinyl records and the return of people to local record stores?

OMC: Yes I love vinyl. I think there is something in it that portrays sound how it’s meant to be heard. I have a little bit of a vintage Synth obsession, and anything analogue really, so the vinyl definitely allows for that vibe to come across easier.

YOTHT: Do you find music outlets like Spotify, Beats Music, and bandcamp are good for music as a whole and help smaller artists?

OMC: Ya, they’re great if they are used right, and you don’t depend on them solely to get your stuff heard and out there. They are just tools and the real work has to be done other ways.

  

YOTHT: Do you have any plans to tour/expand the tour? Plans for a record?

OMC: Yes, this next year is going to be a big one. We will be heading out on a U.S. tour in April, and then aiming to do a larger U.S. tour in June along with a tour throughout Canada sometime in the summer.

YOTHT: The EP is fantastic, what are your plans for a new record?

OMC: As for new music, there is a lot coming. This past year I’ve written enough for several albums, so let’s just say I am very eager to get more material out there, especially because this new music is just so much fun to perform live and I feel captures the vibe I really want to be giving off more than the acoustic guitar driven folk tunes.  

YOTHT: Do you all as a band have set goals? If so, what are they? What are your dreams for the future?

OMC: My dreams are to create something that allows people to get inspired to create their own dreams. And while doing this I want to collaborate with as many incredible people as I can and build a real community around this. 

  

YOTHT: What do you listen to in order to clear your musical palate?

OMC: I go for a walk and listen to the birds!

Connect with Old Man Canyon

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Website

Weekly Musical Spotlight ::: Late Night Television

Monday 03/03/2014 
Conan ::: James Durbin
Fallon ::: Randy Newman
Kimmel ::: Fitz and the Tantrums
Letterman ::: Future Islands
Meyers ::: The Hold SteadyDaly ::: Kaiser Chiefs

Tuesday 03/04/2014 
Conan ::: American Authors
Fallon ::: Lea Michele
Kimmel ::: Amos Lee
Letterman ::: Phantogram
Meyers ::: Mike Birbiglia (comedian)
Daly ::: Kodaline

Wednesday 03/05/2014 
Conan ::: No artist listed at this time
Fallon ::: The Avett Brothers
Kimmel ::: Kongos
Letterman ::: David Nail
Meyers ::: Rick Ross
Daly ::: Icona Pop

Thursday 03/06/2014 
Conan ::: Drive-By Truckers
Fallon ::: Bad Things
Kimmel ::: Jetta
Letterman ::: Bob Mould
Meyers ::: Lil' Jon
Daly ::: LP

Friday 03/07/2014 
Fallon ::: Broken Bells
Letterman ::: Joan Jett & the Blackhearts
Meyers ::: Sarah Lewis
Daly ::: No

Saturday 03/07/2014 
Saturday Night Live ::: The National

Palladia Highlights
Monday 03/03/2014 
9a NeedToBreathe - Prove the Poets 
4:30p The Civil Wars - Unplugged
5p Live From the Artist Den - Mumford & Sons

Tuesday 03/03/2014
6p Norah Jones - Storytellers
10p Oxygen Festival '10 Hour Two- Vampire Weekend, Arcade Fire, Fatboy Slim, the Temper Trap

Wednesday 03/04/2014
6p Coldplay - Live at Glastonbury
8p Florence + the Machine - Unplugged
9p Live at the Artists Den - Adele

Thursday 03/05/2014
9a Feild Day Festival '13 - Bat for Lashes, Palma Violets, Chvrches, Animal Collective 

Friday 03/06/2014
4:30p Elton John - Live in Concert
6p Paul McCartney - Something NEW

New Music Spotlight ::: February Album Reviews (Part One)

In our first of many February album reviews coming over the next few days, we start you out with two solid performers.

BROKEN BELLS – AFTER THE DISCO

 

 It’s hard to be into the music scene and not hear the influence of Brian Burton. Better known by his stage name Danger Mouse, this University of Georgia - Grady graduate has been nominated for sixteen Grammy Awards, bringing it home 5 times. After growing up in Spring Valley, New York he moved to Athens, GA in 1998 where he DJ’d for UGA’s radio station while performing locally in a mouse outfit due to his shyness, hence the adoption of the Danger Mouse moniker. During this time, Burton took second place in a 1998 talent contest and was asked to open for a concert at the homecoming concert at Stegeman Coliseum featuring OutKast and Goodie Mob. Afterwards, Burton approached Cee Lo Green, a member of Goodie Mob, and gave him an instrumental demo tape.  The duo later formed the group Gnarls Barkley. Best known for his role as a producer he gained prominence after releasing his 2004 mix of Jay Z’s The Black Album and The Beatles’ The White Album aptly naming it The Grey Album. Since then he has become one of the most sought after producers. His work has spanned many genres having worked with The Gorillaz (Demon Days), The Black Keys (Attack & Release, El Camino), Beck (Modern Guilt), Norah Jones (Little Broken Hearts), Electric Guest (Mondo), and one of 2013’s best albums Portugal. The Man’s Evil Friends.

But Broken Bells is not about just one of music’s best, but two. James Mercer, best known as the lead singer and driving force of The Shins, makes up the other half of this dynamic duo. The Kevin Spacey look-a-like began his musical career in the early 90’s, forming the band Flake Music in 1992 and toured with Modest Mouse. As a side project in 1999, Mercer formed The Shins named after the name of the family in The Music Man, a favorite of his father. Originating as a duo, the band now plays as a well-known, five piece indie rock group. Born in Honolulu, Hawaii, Mercer is well versed in a variety of instruments from the guitar, bass, banjo, lap steel to the synthesizer, harmonica, glockenspiel, piano, and drums. He also owns a wide range of vocal inflection including an oft used falsetto range as part of Broken Bells.

Originally meeting in 2004 at Denmark’s Rosklide Festival the two artists happily learned they were big fans of each other’s works. Nearly four years later, the duo began secretly working on their first record Broken Bells. The announcement of the collaboration/formation of Broken Bells came a year later on September 29, 2009. Almost two years to the day of their start to the record Broken Bells was released on March 9^th, 2010 and reached number one on iTunes, selling over 400,000 copies and receiving high praise from the press.

In February 2012, Mercer mentioned on a radio interview in support of The Shins’ Port of Morrow that Broken Bells had begun working on their second album. The album announcement came on October 18, 2013 and the first single, ‘Holding On for Life’, off After the Disco was released in early November. The album features the return of James Mercer’s signature Broken Bells, Barry Gibb-esque pitch matching perfectly with their newfound 70’s disco feel.

Without having seen it mentioned as such, this album works as a concept album following the course of a relationship from beginning to end from one side’s perspective. Opening with ‘Perfect World’ the song sets the groundwork for the alien, disco world the album creates. The opener brings you right back to where we left off with Broken Bells with this use of choral-like back ground vocals and range of instruments. The six and a half minute jam mellows out towards the end before returning to its melodic beginning launching into the album’s namesake, ‘After the Disco’. Track two kicks up the tone with a very Bernard Edward (Chic) like bass line. The song portrays the misadventures of nightlife after the disco is closed; it plays almost perfectly as a lead-in to or different account of the night Daft Punk depicts in the award winning song ‘Get Lucky’.

The first single ‘Holding On for Life’ brings us back to the high-pitched Bee Gees sound mixed with an alienistic deep space sound that the track’s accompanying video brings to life. ‘Leave It Alone’ has a dark-Shins style to with heavy Danger Mouse influences. The blues guitar fueled song is best described as a look back at the low point in a relationship where both sides won’t pull the plug. Following the theme ‘The Changing Lights’ is an upbeat percussion driven song reflecting that neither side of the relationship wants to be the loser of the relationship.

‘Lazy Wonderland’ brings the album back to a happier place, with a song that could be describing the thrill of an affair, or possibly a break in the madness of a spiraling relationship after a good night. ‘No Matter What You’re Told’ is a perfect blending of funk, blues, and alien disco.  The album wraps with the “narrator” taking the blame for the foregone relationship and

Overall the album has a heavy theme of finding love, the different paths taken to get there and the subsequent ride that a relationship takes you on. After the Disco employs a heavy mixture of styles and sounds with the two classic sides of James Mercer’s voice and the ever-present harmonic backup vocals. The record flows well through its entirety which is no surprise as Danger Mouse has spoken frequently on the meticulous way in which he lays out an album.

Only time will tell how their second release holds up against the original, it’s an album that deserves and practically demands multiple listens.

Top Tracks

Leave It Alone

Perfect World

The Remains of Rock & Roll

After the Disco

B Rating: 88

R Rating: 81

Overall: 84.5

Local Dates: Tuesday, March 11^th at the Tabernacle with Au Revoir Simone

Like this album? Try….from  2013

Portugal. The Man – Evil Friends

Volcano Choir – Repave

Jaill – There’s No Sky (My Oh My)

Kurt Ville – Walking on a Pretty Daze

CYMBALS – THE AGE OF FRACTURE

The four-piece dance-rock outfit, Cymbals, has returned with their third record The Age of Fracture. Formed in 2010 the London band started, much like this website, as four friends with similar interests wanting to have fun. Fronted by Jack Clevery (vocal, guitar) the synth-heavy band is rounded out by Dan Simons (Keyboardist), Luke Carson (bassist), and drummer Neil Gillespie. They released their first LP in September of 2011. Unlearn introduced Cymbals to the world with their Talking Heads influenced rock, often sounding like an 80s inspired Bloc Party. Not wasting anytime the group released their second album Sideways, Sometimes on April 23, 2012. Recorded in a studio aboard a boat while floating the River Thames, the album got its name because their instruments had to be played sideways, sometimes. The keyboard laden 8 track recording features three ‘untitled’ instrumental tracks at the beginning, middle, and end.

The Age of Fracture opens with ‘Winter ‘98’, beginning with the noises of a crowded venue preshow the song floats with a sound eerily similar to that of Lana del Rey’s ‘Video Games’ before descending into a heavy synth groove to finish the final third of the track. ‘The Natural World’ doubles down on the 80’s dance rock for a track could fit perfectly in the climax of a John Hughes film. As the album plays you’re treated to more vocals and instruments that on the previous albums. The title track brings about a Yeasayer-like drum, keyboard mix that dissolves nicely into the next song ‘Like an Animal’. From there the album takes a turn very reminiscent of fellow English rockers, Foals.  ‘Call Me’ brings the album to a close with a subdued lyricless wrap that feels like the last day at school packing up to leave a music festival.

The latest release from these English chums appears to be more thought out and well-choreographed. Showing growth and lack of fear, this album is one of the best dance rock albums in recent memory.  For those new to the Cymbals they take all the elements of the bands mentioned previously and fuse them together with their own touch to make another great album.

Top Tracks

Winter ‘98

Empty Space

Call Me

The 5%

You Are

B Rating: 90

R Rating: 86

Overall: 88

Local Dates: No local dates at this time

Like this album? Try….from 2013

Foals – Holy Fire

Selebrities – Lovely Things

Limousines – Hush

Darwin Deez – Songs for Imaginative People

CHVRCHES - The Bones of What You Believe